Spinning on air

CYC

CYC is a poetically written pastiche, rather than a play,
showing the never-ending life cycle - from birth to death and
back to birth. It expresses universal feelings common to most
human beings, of regret that they didn't do more with their lives
and wishing they could have a second chance. The fear of growing
old-unfulfilled-is shown by the realization of incapacitating
physical degeneration. None of these facets of the human condition
is new, but they have been more eloquently expressed by more prolific
writers who have more life experience. Ms. Redsecker is certainly
a talented and sensitive writer. It would be interesting to see
how she would handle a play, as opposed to a symbolic commentary.

This piece is abundant with symbolism-from the use of reams of
Saran Wrap instead of paper, with a pen pulled down from the ceiling
at will, which no doubt indicated the transparency and ephemaralism
of the creative process. The only developed character in the piece-the
playwright (played by all four actors in successive repetitions)-was
the one who was able to use this device most effectively. The
other characters were somewhat shallow and underdeveloped - probably
inevitable in this kind of piece. The evolution of a relationship-beginning
and (sad) ending-is emotionally effective the first time one sees
it. But after the fourth time-portrayed by different actors and
actresses (in keeping with the evolutionary life cycle as previously
indicated)-it loses its impact and becomes merely an exercise
in an acting class. This particular device came across as an excuse
for lack of inspiration on the part of the writer. Also, there
were sections of the dialogue which seemed so staccato, as to
be more cinematic in style than theatrical. The meaning of the
title-CYC-was unexplained.

There were four very talented young actors involved here-Dot
Antoniades, Ilana Gustafson, Andrew Phelan,
and Kristopher Wallin, who, as the program says, played
all six roles-Boy, Older Boy, Younger Deity, Elder Deity, Playwright,
and Girl, as effectively as they were given a chance to do. They
all acquitted themselves admirably.

The set design, by Eric Brookins, was quite ingenious and
perfect for the symbolism. To describe it as a practical edifice
from floor to almost-ceiling, which held two sitting levels, would
not do it justice. It was most effective.

The lighting design, by Owen Hughes, still had a few glitches,
but was basically effective and illuminated the mood of the piece.

The director, Amey Goerlich, achieved a fluidity of movement
that made up for, and occasionally enhanced, the repetitiveness
of the dialogue.

Costumer Stacey O'Neil did not have her creativity stretched
too far-the pale green short-sleeved shirts, black pants (for
all the actors), and one beige jacket were just right.